


Poetry of the Lore Realm

by HebrewPrincess91



Series: Chronicles of the Lore Realm [1]
Category: Lore (Roleplaying Game)
Genre: Arthurian, Complete, Dragons, Fae & Fairies, Fantasy, Gen, Magic, Original Mythology, Poetry, Role-Playing Game
Language: English
Status: Completed
Published: 2016-10-18
Updated: 2016-10-18
Packaged: 2018-08-23 06:37:46
Rating: General Audiences
Warnings: No Archive Warnings Apply
Chapters: 13
Words: 634
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/8317639
Author URL: https://archiveofourown.org/users/HebrewPrincess91/pseuds/HebrewPrincess91
Summary: Poetry based on the mythology of the RPG Lore.





	1. Seliegh & Unseliegh

**Notes for the Chapter:**

> The following poem is written so that the Seliegh column on the left and the Unseliegh column on the right can be read either as individual works that come to the same conclusion, or as a single work that alternates between the two parts. The entire poem is composed of rhyming couplets. Each column is also a near mirror or counterpart to the couplet in the other column.

_Walk_

Walk in the light my dear,

To places far and places near.

Walk in the shadows child,

To places dark and places wild.

Step in and out of light by day,

And find yourself far away.

Step in and out of dark by night,

Roaming to the heart’s delight.

Dancing in the golden sun,

The heart’s desire, little one.

Frolicking in the nightly dark,

The shadows sing, to which you hark.

Child, child, play in the bright,

Sunlight is your way of flight.

Child, child, play in shadow,

In gloaming field and darkened meadow.

Be mindful as you walk or play,

Of those who walk by night or day.

 


	2. Sirene

**Notes for the Chapter:**

> Both of these poems are concrete poems where the first letter of each line spells out the name of the race the poem is for. The first poem, _Home_ , has six lines with lines 1, 3, and 5 sharing an end rhyme while 2, 4, and 6 share an end rhyme. This first poem was intended to be more lighthearted and fun reflecting the fun-loving nature of the Fae. The second poem, _Nightly Vigil_ , is arranged with six lines split into three rhyming couplets. This poem was written with a more sinister undertone to show the darker side of the Fae and of the Sirene particularly. The use of the term “men” is supposed to evoke a male person, but it also expresses the idea of humans in general.

_Home_

 

Seas are home,

In waters run.

Relax or roam,

Enthrall for fun.

Neath playful foam,

Enjoyment won.

 

 

_Nightly Vigil_

 

Sunken in the coastal deep,

Inglorious vigils nightly keep,

Reviled of men is our plight,

Enthrall of men is our might,

Never our domain to share

Ensnare in pain all who dare


	3. Sidhe

**Notes for the Chapter:**

> This poem does not have a rhyme scheme. Instead the words “fur” and “skin” are used repeatedly to create a rhythm. The short lines and predictable endings evoke a beating drum. The poem as a whole also tells an abbreviated story.

_In Fur, In Skin_

 

Walk in fur,

Walk in skin.

 

Fight is fur,

Play in skin.

 

Clever in fur,

Coy in skin.

 

Hide in fur,

Run in skin.

 

Lost in fur,

Found in skin.

 

Walk in fur,

Walk in skin.

 


	4. Arias

**Notes for the Chapter:**

> This particular poem was meant to evoke nursery rhymes like _Humpty Dumpty_ , _Four and Twenty Blackbirds_ , or _Hey Diddle Diddle_. The story progresses normally but has a strange twist ending that wasn’t hinted at earlier. The poem consists of five couplets where the first line of each couplet has the same end rhyme and the second line of each couplet share an end rhyme.

_Little Bird_

 

A little bird spoke to me,

Whispered into my ear.

 

She flew up into yonder tree,

Turned into a maiden dear.

 

“Would you like to marry me?”

She said with a giggle clear.

 

“Alas, I cannot troth-ed be!”

Said I for all to hear.

 

“For you will have naught to do with me,

When you find out I’m a bear!”

 


	5. Orlish

**Notes for the Chapter:**

> This poem takes the form of a near riddle. The structure is based around questions but the conclusion is foregone. The last couplet acts an answer or response the questions asked in the previous three couplets. Because the Orlish are a dwarfish people it seemed appropriate to reference _The Hobbit_ in line 6. Overall the structure is of four sets of rhyming couplets.

_Where?_

 

What is found and never lost,

Finds it’s way at all cost?

 

Never steps foot off the way,

By dark of night or light of day?

 

Always knows to where it’s been,

Whether it goes there or back again?

 

To and fro, we travel far,

Ne’er forgetting where we are.


	6. Mallan

**Notes for the Chapter:**

> The Mallan race is the adopter group of the fae the poem reflects the idea of children being abandoned or lost and adopted by fae creatures. The Mallan poem is specifically based off of stories like _Hansel and Gretel_ where children are abandoned by wicked stepmothers. The poem is divided into two parts with each part made of two verses; the rhyme is in the final line of each verse. Each verse begins with the same two lines to give the poem a playful sing-song feeling.

_Little Child_

 

Little boy,

Little girl,

Abandoned in the wood.

 

Little boy,

Little girl,

Stepmother is no good.

 

 

Little boy,

Little girl,

Stay awhile and play.

 

Little boy,

Little girl,

Your home is with the fae.

 


	7. Rakesh

**Notes for the Chapter:**

> The Rakesh poem is made up of a series of linked haiku. The subject matter reflects the ability of the Rakesh to influence weather. The progression of the story within the haiku hints at a larger plot where order is disrupted and restored. This also reflects on the Rakesh as the most powerful and important drake clan.

_Order_

 

The rain, it does drive,

Thunder, lightning, storms are here.

Frightful, powerful.

 

The snow, it does fall,

Harsh, so very cold, cold, cold.

Bitter winter might.

 

Warm summer breezes,

Brings relief to coldest hearts.

Order restored.


	8. Makhemmel

**Notes for the Chapter:**

> The only real structure in this poem is that each line has an internal rhyme. None of the lines rhyme with each other, so the rhythm is found entirely in each isolated line. The flow of the poem is somewhat choppy and reflects on it as a mixture of proverbs and poetry.

_Elementine_

 

Listen to the mirth of earth,

Thou, the daughter of water.

Listen to the care of air,

Thou, the sire of fire.

As both mother and brother,

Elements do charm and harm.

With air, all day you play.

With water, yonder you wander.

With earth, below you flow.

With fire bright you delight.


	9. Deleyire

**Notes for the Chapter:**

> This poem has no rhyme at all, instead depending on the repeated ‘G’ sound at the beginning of each line to supply the rhythm and cadence. The wording reflects the particular association that this clan has, which is stars. I’ve stretched that to include cosmic themes as well.

_Ghost of the Cosmos_

 

Ghost of the cosmos,

Graced one of the void,

Grasping at the burning stars,

Gazing at the everlasting beyond.

Galaxies sweeping through night,

Great asters of endless time,

Gallant one, through fearsome nothingness,

Gravitate toward the Ever More.

Garner hope in endless cold,

Graced one of the void,

Ghost of the cosmos.


	10. Mendrid

**Notes for the Chapter:**

> The Mendrid poem is composed of four rhyming couplets that extol the powers of the reclusive sea monsters. Hailing back to stories of Davy Jones’ locker, the Kraken and other seafaring legends the poem iterates the idea that these are powerful sea dwellers that would best be avoided.

_Lurking ‘neath_

 

Lurking ‘neath the stormy wave,

Taking thousands to their grave.

 

Prowling where ancient bones do sleep,

‘Neath waters dark and waters deep.

 

Powers of the wrathful sea,

The might of Neptune rests in me.

 

Mighty ships sail to their fate,

Through the maelstroms deadly gate.

 


	11. Varkir

**Notes for the Chapter:**

> The Varkir poem is small as are the Varkir drakes. The poem evokes the natural territory of the Varkir and their penchant for treasure hunting. The third line shows how the diminutive drakes demand to be taken seriously (despite the fact that they are actually quite adorable) and the last line is both a boast and a claim to the ferocity that is native to the drakes. The first three lines have a rhyming ending while the last line breaks the pattern to draw attention to the declaration.

_Fearsome_

 

Upon a butte,

With lots of loot,

I am not cute,

 

I'm fearsome.


	12. Ilaath

**Notes for the Chapter:**

> The poem _Day Light, Night Bright_ is written in the nursery rhyme style. The first two lines of each stanza are short while the third line is long. Each stanza rhymes throughout. The imagery used is of light and dark to evoke the powers of the Ilaath. The other poem _A Saying_ is meant to be just that. A simple truth told in a rhyming style, with each line rhyming with itself. The Ilaath’s special powers over light and dark are affirmed.

 

_Day Light, Night Bright_

 

Day light,

Night bright,

Shadows in my sleep tonight.

 

Dark dawn,

Dim sun,

Wielded by the Midnight One.

 

Light wild,

Dark mild,

Toys of the Blazing child.

 

 

_A Saying_

 

Light is bright in everyone’s sight,

When light goes away, dark comes to play.

 


	13. Svirkan

**Notes for the Chapter:**

> This poem uses head rhyme keeping the rhyming sounds at the beginning of each couplet. The first two couplets have a near rhyme at the end of each line as well. The poem is overall intended to evoke the powers over health that the Svirkan have. There is a certain choppiness to the poem that lends to its character when talking about slipping from wellness to illness.

_Sickening and Quickening_

 

Sickening puts to an end,

Quickening begins once again.

 

End a life very quickly,

Mend another suddenly.

 

Breath, shuddering it stills,

Death – at once reversed.

 


End file.
